Practical elemental magick

Tilke the pelltilcle from the altar and walk to the north. Hold the
pentacle up to the north, visuillise the eilrth triangle in a verdant green
behind the pent,lcle Jnd say:

EllrtiJ be tiJolllldored within Illld without, IlS Ilbouc, so below
Hold the pentacle to your chest so it is in front of your heart, and
feel the connection between the power of earth and the physicality of
your form; feel your own physical power. Circumambulate the rest of
the circle clockwise bilck to the north holding the pentacle and return it
to the altar.

Page 51 I Practical Elemental Magick

CHAPTER 6

Elemental Archangels

"Micl7nel, CnbrirC RIlJll7llel, Liriri, 1171' holy IlIlSI'I,; ([l170 ,;Inlld /Jrtore I,illl ([ll,o
dll'rl/, ill 1171' IlI'nvell';, IIII' holll nlld nnlll'd 0111'. "~.

Although it may Sl'l'1ll confusing, thl' archangl'ls attributl'd to thl'
l'll'rnL'nts arl' Jlso plJllctary arch,lllgl'ls. HOWl'vl'r thl'ir JssociJtiolls do
dkcti\'l'h' demonstrate thl' l'll'Illl'ntaJ attributions of soml' of thl'
pLlllL'tS by ,1550ci,ltion. Thus the sol,lr Mich,lel is the 'lrch'lIlgl'l of Fire,
the lunar G,lbriel is the archangl'l of Watl'r, thl' Mercurial R'lph'll'1 is
thl' Jrch'lIlgel of Air, Jnd the Venusian Uriel is thl' Jrch,lllgel of FMth.
Thl' MchJngels Me not beings of the ell'mental reJlms, r,lther they Jet
in thl' roll' of overSl'l'r of the rl'alm, standing outsidl' and controlling JII
within.

As wl'lI ,15 being till' four Jrch,lIlgl'ls who stJnd bdore Cod, thesl'
Jrchangels arl' ,11so thl' saille four who Me invoked to protl'ct ,1 person
whilst they sll'l'p in the Jewish protl'ctivl' ritthll ()f Krint SIIClilil nl 1111-

ivlililii. Tl1l' prayer for protection cll"lrh' illflul'ncl'd thl' cre,llioll Dr thl'

Ll'sser f),lnishing Ritu,11 of the PelltJgrJIll by till' Coldl'n 1),1 \I' n, ,11ld is
,15 ioIIOlI'S:

III Iile IInllle of AdMzni Iile God or lornel:
May Ille nllgel Michnel be nl my righi,

Alld Ihe nl/scl Gn/Jriel be nl Illy lerl;
And ill (nlill or Ille lite nllgel Uriel;
A!ld belii!1dllll' llie n!1gcl Rnl'hnel;
Alld n[Jow Illy Iwnd tile Shekil/nh.

The signifiGlI1cl' l)f these four archangels of the clements may also
be seell by the fact that they arc the ollly four archangels found in
Islam, Jlbcit with an alternative name in the case of Uriel (Azrael), or
Arilbic versions of the nilmes for Gilbriel (Jibrilil) i1lld Ri1phi1el (lsrafel).
Only Michilel ,lnd Gilbriel Me nilmed in the Bible, though Ri1phael is in
the Book orT(J/Jil, ilnd he ilnd Uric] both ilppeM in the Book or Enoch.

These four archangels are from the order of angels called the
Seraphim, or 'Fiery Ones', who are considered to be made of Fire.
Many of the main archangels, specifically the seven who are in the
presence of God, (and including some of those that fell like Lucifer),
come from this order. They are referred to in Psalms when it says,
"Who maketh his angels winds; his ministers aflamingfire. "2.'

Angel Raphael Michael Gabriel Uriel
Face Slender, Stern, Blindingly Strong,
Ethereal, Beautiful, Beautiful, Feminine,
Eyes Androgynous Masculine Feminine Beautiful
Hair Sky Blue Golden-Red Violet-Blue Green
Robe Blonde Red-Brown Black
Tools Yellow Scarlet Silvery Green
Caduceus Flaming Blue Copper
Pilgrim's Staff Sword Lamp
Alabaster Jar Lance Silver Cup Flame
Golden Scales Lily topped Sword

Staff

23 Psalms 104:4.

Page 54 I PractICal Elemental Magick

The Archangel of Air - Raphael

Raphael means "Healer of God", and he is the archangel charged
with healing mankind and the earth. He is the Archangel of the
ek'ment of Air, and patron of travellers, often being depicted with a
pilgrim's staff, and he protects those on journeys, especially air travel.

As well as protecting travellers, Raphael's special charges are the
young and innocent, as can be seen from the story of him protecting
the boy Tobiah from a demon (Tobit 3-6).

Raphael is the archangel of knowledge and communication, and
may be called to help with any related areas, such as improving your
memory, learning languages, exams, dealing with bureaucracy and
business matters. He was said to have healed the earth after the Flood,
and also visited Noah after the Flood to give him a book of medicine,
which had belonged to the archangel Raziel.

Raphael is usually portrayed with a beautiful slender
androgynous face. He may bear a caduceus in his right hand, or
occasionally a white alabaster jar of healing herbs or ointment.

Contemplation on Raphael
Visualise Raphael standing on top of a wind-swept hill, with
white heather carpeting the grass at his feet. He is around 3m tall, and
wears a yellow robe with brown leather sandals. Flashes of purple
appear around his form as he moves.
His face is slender and ethereal, with an androgynous quality,
framed with yellow blonde hair and containing piercing sky blue eyes
that seem to see forever.
On his back are a large pair of white wings. Raphclel be,lrs a
caduceus in his right hand and a white alabaster jar in his left h,lnd.
You realise he is present in his role of divine healer, and as vou

Page 55 I Practical EIl'nwntal Magick

consider this you feel a flow of air around you, like a gentle breeze
blowing past Raphael and into your space, whispering to you as it
enters.

The Archangel of Fire - Michael

Michael was the first angel created, and is often seen as the leader
of the angels or "first among equals". His name means "He who is like
God". He is usually shown wielding a sword or lance, and sometimes
the scales of justice. As the archangel of the element of Fire and the
Sun, he helps those who call him to achieve goals and destinies. He is
particularly associated with protection, marriage and music. Michael is
the defender of the just and is also known as the Merciful Angel.
Michael has been particularly popular for inclusion in protective
amulets, and significantly his name is included in the triangle of
evocation used in Grimoires like the Lemegeton.24 Michael was the
angel described in the third century CE text, The Testament of Solomon
as giving King Solomon the ring inscribed with the pentagram that
enabled him to bind demons, and force them to build his temple.

Michael appears a number of times in the Bible in a manner
symbolically appropriate to his nature. Thus Michael was the
archangel who appeared to Moses as the fire in the burning bush
(Exodus 2:5), he rescued Abraham from the fiery furnace of Nimrod
(Genesis Rabbah 44:13) and he also rescued Daniel from the lion's den
(Daniel 6:22; note the lion as a symbol of fire). Michael appears in
Revelations as the leader of the celestial host that defeats the antichrist,
and he is the prayer-leader in the Heavens in Islam.

24 See The Goetia of Dr Rudd, Skinner & Rankine, 2007.

Page 56 I Practical Elemental Magick

Contemplation on Michael
Visualise Michael standing on the edge of a volcano. He is
around 3m tall, and wears a scarlet robe with brown leather sandals.
Flashes of green appear around his form as he moves. His face is stern
and beautiful, with a masculine quality, framed with red-brown hair
and fiery golden-red eyes that seem to burn with an inner light. On his
back are a large pair of white wings. Michael bears a flaming sword in
his right hand and a set of golden scales in his left hand. You realise
he is present in his role of divine warrior, and as you consider this you
feel a blast of dry heat blow into your space, bringing a feeling of
power with it.

The Archangel of Water - Gabriel

Gabriel means 'The Strength of God', and he is one of the fiery
Seraphim. Gabriel is the angel who usually delivers messages to
humanity, embodying the link between man and the universe and the
divine as expressed by the Moon.

Gabriel first appears in the Old Testament in the book of Daniel.
It was Gabriel who first indicated the coming of a messiah to Daniel in
this book. Gabriel visited Zachary to tell him his son would be called
John (the Baptist) and most famously he told Mary that she was
pregnant with Jesus. In Islam Gabriel is also seen as the divine
messenger, it was he who delivered the Qur'an to Mohammed.

As the Archangel of the Moon and the element of Water, Gabriel
is the guide to the inner tides of our unconscious. Gabriel can help
with developing the imagination and psychic abilities. He is also
associated with domestic matters, especially the development of the
home, or finding a Ilew home. Gabriel can appear as mall.' or female,
and may be called to as either.

Page 57 I I'ractical Elemental Magick

Contemplation on Gabriel
Visualise Gabriel standing by a w,lterfall with white lilies bv his
feet. He is around 3m tall, and wears a blue robe with brown le,lther
sandals. Flashes of orange appear around his form as he moves. His
face is blindingly beautiful, with a feminine Cjuality, fr,lmed with
silvery hair and violet-blue eyes that seem to brim with wisdom and
knowledge. On his back arc Cl large pair of white wings.
Gabriel bears a simple silver chalice in his right hand and a staff
topped with lilies in his left hand. You realise he is present in his role
of divine messenger, and as you realise this you feel cool moisturl'
entering your space, bringing a feeling of knowledge and answers to
half-forgotten Cjuestions with it.

The Archangel of Earth - Uriel

Uriel, also known as Auriel or Oriel, is the Archangel of the
eleml'nt of Earth, and of peace and salvation. His name means "Light of
God", and he is often depicted with a flame or lamp in his hands. Uriel
is particularly associated with magickal power, and the application of
force (an extreme example being his patronage of earthquakes). As
such he is the 'lngel to help cause a positive breaking of bonds when
needed and overcoming inertia. He is also the patron of astrology and
has been linked strongly with electricity.

Uriel is credited with being the angel who gave alchemy ,lnd the
Qabalah to m'lll. Uriel was thl' angel who hel ped inspire Abraham to
lead thl' Jews out of Ur. As one of the most powerful archangels, Uriel
is s,lid to be the bearer of the kevs to hell, standing ,1S gu,lrdi,ll1 to that
infl'rnal realm. He usually carries a coppl'r lamp or fl,lme in his h'lnd.

Contemplation on Uriel
Visualise Uriel standing by the edge of a corn field with a wood
behind him. He is around 3m tall, and wears a green robe with brown
leather s,mdais. Flashes of red appeCH around his form as he moves.
His face is beautiful and full of strength, with a feminine quality. It is
framed with black hair and ha~ green eyes thilt seem to shine with the
light of lInderst,lnding ,lnd hope. On his back are il large pilir of white
wings.
Uriel bears a copper IZimp in his right hand which gives off a soft
ililiminZition, Z1nd ZI sword in his left hilnd. You realise he is present in
his role of breilker of bonds, Z1nd as you realise this you feel a sense of
strength and freedom entering your spZlce, bringing a feeling of
liberZition Z1nd power with it.

CHAPTER 7

The Elemental Beings

"The Nymphs of the Fountains, and all the Water Spirits,
and terrestrial, aerial and astral forms, are the Lunar Riders and Rulers ofall

Matter, the Celestial, the Starry, and that which /ies in the Abysses. "c,i

The Elemental beings are powerful and primal, they are the pure
essence of the physical forms of matter in its diversity. As such they
should be treated with respect, although you should also bear in mind
that elemental beings vary in their type, and many are single-minded
creatures embodying the power of their element. This single-
mindedness is both their strength and weakness, for it can provide
huge amounts of energy, but it tends to be inflexible.

However although they were not called elementals or saganae
(meaning 'elements') until the works of Parace!sus in the Middle Ages,
we can see that the same beings were previously described in the
ancient world. Iamblichus in his classic fourth century CE work
Thellrgia discussed daimons (spirits), and introduced the idea that they
could be elemental in nature, and did not maintain a physical
corporality in the same way as man.

This concept was developed by Proclus in the fifth century CE,
who divided the daimons (spirits) into five classes of being, rulers of

25 Chaldean Oracles, N0.103.

Page 60 I Practical Elemental Magick

Fire, Air, Water, EMth ,lnd the Underworld, thus providing an
elemental division by kingdom which would evolve into the
worldview espoused by Paracelsus.

The medieval view of elementals expressed by Paracelsus in his
classic work Liber de nymph is, sylphis, pygmaeis ct salamandris et de
cnetais spiritil71ls was that they often appeared in humJn form, and
frequently lived among men.

A reason for this was that they did not have a soul, and if they
married a human they gained a soul, and likewise any offspring with a
human would automatically have a soul. This was discussed in
another major work regarding elementals, the '(ictional' Lc Comtc de
Cabalis by Monfaucon De Villars (1670), which was heavily plagiarised
by Giuseppe Francesco Borri in his La Chiave Del Ca/Jinetto (1681).
These books were describing elemental beings who could appear in
human form, which should not automatically be equated to the term
elemental, which is normally used for the simplest forms of elemental
creatures, and is a term we prefer not to use, to avoid confusion. Other
writers would support Paracelsus, often quoting his work wholesale or
paraphrased, as in this case from Thomas Rudd in the seventeenth
century, when he wrote:

"Iamblichus ,aitil, they arc 110t men, /Jecnllse they walk spiritllally; they
cannot /Je spirits, becnllse they eat, drink al1d haveflcsh and blood; they are
therefore a pecIIliar Creature, alld from their dOllble l1ature they arc made one
mixtllre as allY compollllded matter of sweet and SOllr, or like tl(l() colollrs

ullder 0111' species. "c"

The desire for a soul suggested by Paracelsus is an interesting
idea, as it goes some way to explaining the willingness of elemental

26 Harley MSS 6482, C17th CEo

Page 61 I Practical Ekmental Magick

creatures to respond to the call for aid from a magician. For surely
they would not come and assist if they did not get something from the
interaction? So perhaps as is suggested by De Villars, repeated
exposure to magickal work may also go some way towards assisting
the evolution of elemental beings, for it would be arrogant to assume
that only we as humans are striving to evolve further.

The argument is that in gaining a soul an elemental creature gains
immortality, immeasurably extending its long life span. Medieval
texts suggested that a humanoid elemental creature had a lifespan of
several hundred years, as described in the sixteenth century De
Subtililte Rerum of Hieronymus Cardanus:

"011 Augllst 12, 1492, Ilt two o'clock in the Ilfternoon,
there appeared to my father, when he had just said his prayers,

seven men in silk garments in the Greek style.
They wore purple hilif-boots and shining carmine red shirts.
Their stlltllre WIlS ZIIlUSlllllly Illrge. The hellds of the spirits were uncovered
Ilnd they looked to be Ilpprollching the Ilge offorty although they themselves

Ilffirmed thllt they were over two hundred years old.
When Ilsked who they were, they replied thllt they were Ilir spirits which Ilrose
in the Ilir Ilnd dissolved into it once Ilgllin, though they were Ilble to prolong

their lives to three hundred yellrs. "27

Over the years we noticed that there does not seem to be any
extant conjurations for the elemcntals in magickal texts spanning many
centuries. This point is also made in the book A Rosicrucian Notebook:

"And we need hllrdly wonder Ilt the sCllrcity ofgenuine Rosicrucilln writings
on the transmutlltion of metilis when, generally spellking, no instrllctions
hllve come down to liS for summoning the elementlll spirits. "28

27 De Sllbtilitate Rarum, Book IX, Cardanlls, 1550.

Page 62 I Practical Elemental Magick

In fact the eX£lmples of working with elementals given in books
are in works of fiction, such as Le Comte de Gabalis (1670) and The Pirate
(1821) by Sir Walter Scott.

The prayers of the elementals given by Eliphas Levi in his work
Trmzscendental Magic are not £lctually directed toward the elementals,
but rather they are from the elementals to God. These take their form
from the prayer of the salamanders in Le Comte de Gabalis by de Villars,
of which Levi's prayer of the salamanders is a paraphrased copy.

Having discussed elementals in a general sense, we will conclude
this section with a quote from Faust which unites the different types in
a charm.

"Salamanders, burn and glow;
Water-spirits, twine andflow;
Up, ye sylphs, in iCther hlue;
Earthly goblins, down with you.
He who could not win consent

From each subject element,
Could not govern at his will
Spirits, be they good or ill.
Salamanders, mix inflame;
In YOllr waters, sprites, the same;
Sylphs, shine out in meteor beauty;
Goblins, help to do your dllty.

Incllbus, Incublls,
Make the spell complete for liS. 'nQ

2R A Rosicrucian Notebook, Schriid ter, 1'1'12.
2'1 Faust, Goethe, IR24 translation by Galt.

Page 63 I Practical Elemental Magick

The Elemental Rulers

The first reference to a group of elemental rulers is found in Liller
II/mills in the thirteenth century, where they arc called elemental
angels or dominators. These arc Cherub (air), Seraph or Nathaniel
(fire), Tharsis (water) and Ariel (earth). The same four beings arc
subsequently referred to by Agrippa in his Three Books of OCCil/1
Philosophy, as well as in H1C Mngicnl Cn/wdnr and in the Sell1iphoms nl1il

Slzcmhnlllphomsh of King Solomon in the same role. In the Key of SO/OJ/lOll

the four nilmes are used in one of the Jupitl'rim\ pentacles, for
protection from all earthly perils. Significilntly they arc set in an equal-
armed cross in a circle, in the symbol of planet Earth, with il verse from
Psn/m 22:16-17 around the edge. We use these nilmes as part of the
elemental pentacle design to good effect, ilS will be seen subsequently.

The names mily seem somewhat confusing, ilS Cherub is ,1lso the
ni1me of it type of angel, and Ariel hils several attributions, though
these do include the appropriate rulership of the triplicity of zodiacal
Earth signs. However the use of confusing names is also seen with
those promoted by Eliphas Levi in his books for the elemental kings,
which hilve moved into popular usage. These are Paraldil (,lir), Djin
(fire), Nicsa or Niksa (wilter) and Ghob (earth).

The name Djin is cleilrJy drilwn from the Arabic Djinn, the fire
spirits popularised in the West itS the genic. Niksa derives from nixie,
the treitchnous German sh'lpeshifting \\"<lter spirit found in folklore.
The king of the Gnomes was called Gob in medieval tale~, hence the
name Chob for the king of the Ei1I"th clementa];;. Thc name Pc1r,11da
however docs not seem to hi1ve any precedent in earlier nwthulog\' or
folklore.

The different names for the elemental rulers docs not indicate il
Sepc1ri1te set of beings, r,lther thev arc groups of names f(lr the S,lmc

Page 64 I Practical Ek'llll'ntal f\bgick

beings. This is significClnt, ClS through the centuries different magicians
Clnd groups hClve found nClmes through experience which work for
them. vVhether you prefer the names from Liber IlImllls, or the names
given by Levi, or Clnother set of nClmes which work for you is a matter
of personCll preference Clnd experience.

Wh"t is importClnt with the elementClI rulers is their role as
directors of the energy of their elements. An element,,1 ruler is hugely
powerful compClred to cl simple elementClI being. The lowest level
Element,,1 beings are simple cre"tures, with a specific purpose and
little intelligence. The elemental rulers are usually visualised in
hum"n or semi-human form, recalling the words of Friederich Fouquc
in his novel Undille (1811):

"YOII nllisl kIlOW, Illy sweet one, liTnl Ihen: nre beings ill Ihe elements which
look nlmosl like .11011 (childrCll of mel1) bill do nol lei YOLI glimpse them very

ofIe II. "11)

Element Archangel Ruler Ruler
(Liber Juratus) (Levi)
Air Eil£Ihll'1 Paralda
Fire Michal'l Cherub Djin
Water Gabriel Seraph Niksa
Earth Tharsis Ghob
Uriel
Ariel

J() Undine, Fou<]uc>, 11111.
Page 65 I l'racticill Elen1L'ntal Magick

Classification of Elemental Beings

During our elemental work over the years, we have developed a
system of classification to make it easier to facilitate the choice of
appropriate elemental creatures for magickal work. Although
traditionally there are no descriptions of hierarchies of elemental
beings, the idea is implied in the works of Paracelsus and subsequent
writers. Paracelsus described the elemental realms having their own
rulers, hierarchies and courts, indicating a clear power structure.
Taking the angelic hierarchies as the best model of a hierarchy of
spiritual creatures, we applied the same principles to establishing
hierarchies for the creatures of each of the four elemental realms.

The categories we put in place enable the magician to choose the
appropriate beings to work with, and also which to avoid. At the top
of the hierarchy is the one type of creature which is not actually part of
the realm, the archangel who oversees the elemental realm. The
subsequent levels of the hierarchy do not form an absolute hard and
fast system, it is included to show the types of elemental being in each
realm, and their relative levels of power and complexity.

We have avoided using the term elemental as a stand-alone term,
as we feel it has led to a great deal of confusion. Instead we usc the
term elemental being, which covers a range of different creatures. This
then avoids the situation of different types of beings all being lumped
together inappropriately under the same term, such as salamander.
For e.g. the term, Vulcan or Actnean is used to describe a humanoid
fire being, whereas a salamander is usually perceived as having a
lizard form (though the creatures arc amphibians).

Page 66 I Practical Elemental Magick

Categories of Elemental Beings

Level Creature Notes
Overseer Archangel Not an elemental creature in the

Ruler Ruler accepted manner, rather an
Aristocracy Shapeshifter extremely powerful and evolved

Genius Guardian director of energies
Extremely powerful and
Humanoid Humanoid complex entity who governs the
Animal Fantastic Creature
Devious element
Simple Trickster Intelligent and powerful amoral
Elemental elemental being with the ability

to assume different forms
An elemental which has become

tied to a specific location and
assumed the role of guardian
spirit, often (but not "I ways)

appears in human form
Intelligent elemental creature in

human form, seeking specific
goals, e.g. a soul or child

Mythical creature, often with at
least one unique magickal trait

Malicious or malevolent
elemental, usually has a primary
and sometimes secondary form

Simple and unintelligent
elemental creature with a single

function and purpose.

I'a~e 67 I Practical Elemental Ma~ick

Classification of Air Elemental Creatures

Level Creature Notes
Overseer Raphael Archangel
Cherub Angelic Overseer
Ruler Fir Clllis/Merry Fairies said to be seen as the Aurora
Aristocracy Dancers Borealis or Northern Lights
Leanan Sidhe/Fairy Inspirational spirit which acted as a
Humanoid Mistress muse for artistic types, but often at
the cost of shortening their life
Animal Co-Walker/Fetch A doppelganger, who presages the
Devious death of the person he resembles
Simple Faun/Satyr Lecherous forest spirit with goats

Sylph legs
Air elemental, often seen as a
Sylvestre/Aerie
translucent human
Pegasus Humanoid elemental, usually blond
Roc
and very intelligent
Boneless/It Winged horse
Giant bird
Just-Halver/Joint-Eater
Amorphous mischievous
shapeshifter

Invisible spirit that devours its
victim's food

Classification of Fire Elemental Creatures

Level Creature Notes
Overseer Michael Archangel
Serup_h Angelic Overseer
Ruler Commonly called genie, powerful
Aristocracy Djinn amoral shapeshifting tricksters
Home or place based creature
Genius Penates/Lares Humanoid, usually red haired and
Humanoid Vulcan/Aetnean hot tempered
Bird, reborn in fire every 500 years
Animal Phoenix Ball of fire/light seen on moors or in
Devious Ignis Fatuus marshes
Classic lizard form
Simple Salamander Belching fire
Scintilla

Page 68 I Practical Elemental Magick

Classification of Water Elemental Creatures

Level Creature Notes
Overseer Gabriel Archangel
Tharsis Angelic Overseer
Ruler Lake Maiden Benevolent lake dweller
Aristocracy Melusine Shapeshifting beautiful clementals
who often marry humans, often
Genius Mons Veneris serpentine or draconian
Humanoid Naiad Name for Nymph society
River guardian
Animal White/Blue Lady Female figure associated with
Devious sacred wells or springs
Blue Men of Minch Wrecker tribe of intelligent undines
Simple Mermaid Not always hostile
BeautiEul women who transform by
Seal Maiden a magIckal seal skin
Half goat, half fish spirit
Sea Goat Malicious water spirits particularly
Fuath associated with fresh water sites
Sexually predatory spirits which
Incubus/Succubus molest ~eople at night
Treacherous river-dwelling
Nixie beautiful women who drown men
Lure sailors to their deaths with
Siren their song
Bull which tries to kill people or
Water Bull steal cattle by driving them into the

Water Horse sea
Horse which tries to kill people by
Water Leaper luring them to ride and taking them

Sea Spirit into the sea
Malicious water spirit which jumps
Undine/Nymph
out of rivers to drag men and
animals to their death

Water spirit propitiated with
oiferi~ for a good catch

May assume human form, entirely
emotional and dangerously
empathic

Page 69 I Practical Elemental Magick

Classification of Earth Elemental Creatures

Level Creature Notes
Uriel
O\'l"lrSl'cr Ariel ArchZlnge\

Ruler Fairy/Elf Angelic Oversl'l'r
Whole soci~l group of amoral
Ari5tocr~cy BrowniL' trickster beings, adl'pt at gi,ullulir

Genius Cughtagh (lnd 1l1Z1gick
Drvad/Durdille HlllIse spirit, ,'tlL'n lkpMts on
Humilnoid
Bllll' C~p being s<..'ell
Animill Cilve spirit
Devious Dwarf/Gnome/l'vgmj-' Tree spirit
Giant Mining spirit who worh'd with

Knocker hunlan~

Blilck Dogs Short hard working mrth spirit
Largl' and extrenlPly stroll:";
Goblin
Kobold elementill, m~y be positiV<' or
nlZlliciou'-)
Ogre
Mining spirit who could 11L'lp or
hinder

Numerous types exist, some of
which arc devious
Millicious spirit

M~licious mine spirit
Malicious cannibal spirit in human

form

Page 70 I Practical Elcment<ll Magick

Sylphs of Air

"Thc Ilir isfllil of IlII ill II II IlIl'mllie Ilililtitudl' of Peopics, wlJOsefllces Ilrc
111I1I/1l1I, Sl'1'11lillgly mlher hllughly, yel ill n:lllily tmcillblc, great lovers of the

SCiC17CI'S, CUlllli17g, obligillg 10 Ihc Silges, Illld enefllies offools and the
igllomnt. "1/

In appearance Sylphs are said to appear taller and with sharper
features than men or women when they are in human form. They are
first mentioned by ParacL'lsus in his writings, and he also refers to
them as Nl'nllfaJ'elli. The word sylph is probably derived from the
word sylul711 or syluilill, referring to an airy forest spirit. Pmacelsus
wrote that "The sylullns Ilre closes I 10 us, for they 100 Ilrc supported by ollr
Illr.

Sylphs are best known from Alexander Pope's famous novel of
1712, The Rllpt' of Ihe Lock. In this he belittles the classical deities,
equating them to sylphs, though here he may have simply been
following on from De Villars, who described the classical Greek god
Pan as the greatest of the sylphs. De Villars also referred to female
sylphs LIS sylphids.

The Greek AnenIoi (wind gods) of the four cardinal directions and
four cross-quLlrters were depicted as winged men who could also
assume the form of horses or gusts of wind. Emus, Notus, Zephyrus
and l30reas were the gods of the east, south, west LInd north winds
respectively. The four winds of the cross-quarters also had gods,
called the AllclI/oi Tliucl/Ili (tempest winds). These were KaikiLls (north-
east), Apeliotes (south-east), Lips (south-west) LInd Skiron (north-
west). As shapeshifting winged airy beings, it is possible the Anemoi

31 LQ Comle de Gabalis, dl' Villars, 1670.

Pagl' 71 I I'rilclicai Eil'menlai Magick

were the origins of the sylphs. If we consider the description given by
the sixteenth century German magician Abbot Johannes Trithemius, it
supports this idea. Trithemius declared in his Eight Questions:

"The spirits of the air can descend to the earth and by assuming a body of
densified air can make themselves visible to men on many occasions. "3"

Certainly the beauty of the sylphs has captivated authors for
centuries, as can be seen from the writing of the nineteenth century
American anthropologist Charles Godfrey Leland:

"How shall I describe ye, 0 beautiful Sylphs! Bright dwellers in the aerial
element, how can I tell the unutterable longing, the deep yearning with which

my heart inclines to your celestial company! "33

Another possible origin for the sylphs is the Old Testament.
There are references to the winds being angels, such as in Psalms,
where it says: "Who maketh his angels winds; his ministers af7aming fire. "34
Considering the image of angels as beautiful winged humans, this
could easily have become the image of the sylphs. Lewis Spence
supported this idea in his Encyclopaedia of Occultism when he wrote "it
is probable that the lesser angels of the older magicians were the sylphs of
Paracelsus. "

This is further emphasised in the New Testament in the Gospel of
Luke, when the boat bearing Jesus is in danger of sinking. The rebuke
delivered by Jesus is clearly to living creatures, which appear to be
elemental:

32 Eight Questions, Trithemius, 1515.
33 Meister Karl's Sketch-book, Leland, 1855
34 Psalms 104:4.

Page 72 I Practical Elemental Magick

"And they enrne 10 him, nnd nwoke him, snying, Mnstcr, mnstcr, we perish.
771CIl he nrose, nnd rl'buked Ihe wind nnd the mgillg of Ihe wnta: nnd they

(cnocd, nlld there wns n enlm. "1~

When a Sylph appears as a Mane (ghost), it is said to presage
great want and poverty for the people in the area. Lemures (ghosts)
are also seen as elemental creatures of air, being the shells of the dead
using the most easily accessible element (air) to try and hold on to
form.

35 Luke 8:23-24

Page 73 I Practical ElcrnL'ntal t\1agick

Salamanders of Fire

The traditional image of the salamander is as the amphibian
which it is named after, although some medieval images also showed
them being somewhat doglike in size and appearance. The name
comes from the Greek word salamandra, the meaning of which is
unknown, though it has been suggested it may be associated with
fireplaces. The first known written reference to the salamander occurs
in the lost fourth century BCE writings of the Greek philosopher
Aristotle, preserved by Cicero in The Nature of the Gods. Cicero
recorded Aristotle as writing in The Generation of Animals:

"Now the salamander is a clear case in point, to show us that animals do
actually exist that fire cannot destroy; for this creature, so the story goes, not

only walks through the fire but puts it out in doing so. "3"

In his classic thirty-seven volume work, Natural History, Pliny
wrote in the first century CE that the salamander "is so intensely cold as
to extinguish fire by its contact, in the same way that ice does. "37 His views
were perpetuated by the third century CE Roman naturalist Aelian,
who repeated them in his De Natura Animalium.

St Augustine mentioned the salamander in his City of God in the
fifth century CE, citing it as an example that fire did not always
consume, and thus evidence that souls were not consumed in the
flames of hell, but suffered eternal torment. In the seventh century CE,
Isidore of Seville repeated the view of Pliny in Etymologies, that the
salamander put out fire.

36 Generation of Animals, Aristotle, C4th BCE.
37 Natural History, Book X, Pliny, Clst CEo

Page 74 I Practical Elemental Magick

The idea that salamanders put out fire may rather indicate their
own fiery nature, for the best way to put out fire is with another fire.
So it may be that the fire being put (Jut by the salamander was actually
being eaten by it. This idea was postulated by Leonardo Da Vinci,
who suggested that they ate fire to renew their skin:

"This hils no digestive orgllns, Ilnd gets no food but from thefire, in which it
constllntly rencH'S its sCllly skin. The sillmnllnder, which renews its sCllly skin

in the .fire - for virtlle. ".18

In fact the amphibians called salamanders often hibernate in
rotting logs, and so the notion of salamanders appearing and
disappearing in flames may arise from them being woken out of
hibernation and doing their best to get out of a fire before they die!

In his Autobiography, the Italian Renaissance craftsman Benvenuto
Cellini described seeing a salamander in the fire when he was five (in
1505). On telling his father about the lizard in the flames, his father hit
him to make sure he never forgot the auspicious day, and then gave
him money. Interestingly Cellini's Autobiography also gives one of the
best examples of the detail of a demonic evocation as well.

The Tilimlid suggests that anyone anointed with the blood of a
salamander would be immune to the influence of fire (Hilgigil 251l), and
this is a common theme found in a number of Jewish writings.

Also included amongst the different classes of fire elemental
creature is the Scintilla or Spark, which appears as a belching fire, and
whose presence presages destruction in the country where it is seen,
often indicating the fall of the ruler. Paracelsus used the term Acthnil
to describe elemental creatures of fire which appeared as balls of fire or
tongues of fire.

38 The Notebooks oi Leonardo Da Vinci, McCurdy, 1954

Page 75 I Practical Elemental Magick

Undines of Water

"Therc nrc certnil1 Wnter ElclllcI11nl5 whom Orphcu5 cnlls Nereidcs,
dwelling ill the /llOre elevated nlznlnliolls ofWnler,

sllch ns nppenr ill dnmp, clol/dy Air, whose /Jodies nre SOlilclillies Scell
(ns Zorollsler Inllg!l I) Ily more lIell Ie eyes,
especinlly ill Persin nl1d Africn. "3"

The name undine is derived from the Latin word Illldn, meaning
'wnue'. In appearance Undines arc said to appear with the same
stature as a woman. They tend to always have moisture in their
presence, be it sweat or a humid atmosphere. Undines arc sometimes
called ondines, although this latter term is derived from the name of a
specific water nymph in German mythology, rather than the whole
class of being.

Undines were particularly noted for marrying humans ilnd
beilfing children to their husbilnds. Of illl the types of elemental
creature they ilre most prone to this pursuit. Unfortuniltely this
inclination also encilpsulates their most trilgic niltures, as it inevitilbly
it seems to end in disaster. This is illustrated in the tilles of Ondine,
Melusine ilnd other watery elemental creiltures found scattered
throughout Europeiln mythology and folklore.

The tendency for female undines to milrry mille humans, which
most often seem to be the Cilse, might have something to do with the
fact thilt there seem to be more femille undines than mille ones. Dl'
Villilfs comments on this saying:

"The nllcicllt Snges cnl/ed Ihis mel' ofpcople Lllldilles or NYlllpiIS.
There nrc very few I11nles nlllollg thelll /Jul n grenl 1I1l1J//Jer offell/nlcs;

39 ellaldean Oracles of Zoroaster, No.77.

Page 76 I Practical Elcnwnwl Magick

their /Ienl/ty is ntrcml', nlld tile dnllgilters of IIICI1
nrc /lot to /Ie compnred to thcm. ""il

Und ines are also known as Nymphs. This clearly links back to a
huge range of beings in the ancient world, with Nymphs being
popular figu res associated wi th wa ter sources in the mythologies of
Greece ,md Rome. The term Nymph was also subsequently applied to
goddesses with associations to water in the Romano-Celtic world.

When an und ille is seen in the form of a Siren, it was believed to
herald divisions and destruction amongst the rulers and religions of
the associated country in which it did so.

40 Le ComtC' dC' Gabalis, de' Villars, 1670.
Page 77 I Practical Ele'mental J'dagick

Gnomes of Earth

"The earth is filled well-nigh to its centre with Gnomes, people of slight
stature, who are the guardians of treasures, minerals and preciolls stones.

They are ingenious, friends of man and easy to govern. "-/7

The Earth Elementals arc best known as Gnomes, though they
were also referred to in the Grimoires as Cubitali and as Pygmies due
to their short stature. The word gnome may be derived from the Greek
word genomos, meaning 'earth dweller'. The Gnomes dwell in the earth,
and in the past were believed to often be found in mines and under
mountains, especially in places where metals and gems were mined.

Those Gnomes who dwelt in mines were sometimes known as
Knockers, due to their tendency to knock on the mine walls for various
reasons. If they knocked once, twice or thrice it was thought to
indicate a cave-in or accident, and the wise man would immediately
move to a different part of the mine. Knockers could be troublesome
when angered, but they were also known to work for wages when
befriended, being the best miners an employer could ever hope for, but
woe betide the man who tried to short-change a knocker, for he would
be beset with troubles.

"The type of gnome most frequently seen is the brownie, or elf, a mischievous
and grotesqlle little creature from twelve to eighteen inches high, /lsually
dressed in green or russet brown. Most of them appear as very aged, often

with long white beards, and their figures are inclined to rotundity. They can
be seen scampering out of holes in the stumps of trees and sometimes they
vanish by actually dissolving into the tree itself. "-/2

41 Le Comte de Gabalis, de Villars, 1670.
42 Den JEldra Eddas Gudesange, Gjellerup, 1895.

Page 78 I Practical Elemental Magick

In genefal appearance Gnomes afe said to appear short, being
described as being around 1m tall or less. Although considered small
by nature, Gnomes can change their shape to whatever size and
appearance they choose. When Gnomes appear as Giants, it usually
presages great ruin or mischief in the area where they are seen. This
brings us to an interesting point made in Grimoires that fairies, which
are often considered to be airy and ethereal beings, are in fact part of
the family of beings often referred to as Gnomes.

"Of this terrestrinl order nrc likewise those. which nrc conllllonly cnlled
Fniries. It is Credibly Asserted. thnt in nncienttimes tlmt ninny of those
aforesaid Gnomes, Fniries £lues & other ten'estrinl wnndcrillg spirits, hnve
{'een seell & henrd nmongst Men, Imt now it is snid & believed thnt they nrc

not sofrefJlIent. "-/1

43 SloC1I1l' i\ISS 3K25, CI7th CEo
Page 79 I Practical EiL'n1L'ntGI i'vlc1gick

CHAPTERS

Elemental Tides

Like the planets, the elements have their own times at which their
powers peak and trough. The elemental cycles operate both on a daily
and a seasonal basis, and may be included in your magickal work to
good effect, to further enhance and refine the energy you are working
with.

During the day, dawn corresponds to Air, noon to Fire, dusk to
Water and midnight to Earth. Seasonally the sequence is usually
viewed as Spring (Air), Summer (Fire), Autumn (Water) and Winter
(Earth).

From a magickal perspective, dawn is the liminal time at the start
of the day, the balance between light and dark, day and night. This
makes for an excellent period to perform magickal work for new
beginnings, associated with the element of Air. Likewise Spring is the
time when life is emerging from the earth, beginning its growth cycle
anew, and 50 this is also an ideal time for new projects. Thus spring
dawns are the optimum time for beginning something new.

Midday is usually the time with the most light, and when we feel
the most active. Our energy is in full swing and we want to get things
done, 50 this is a time for making things grow and develop. If you
need something to succeed, concentrate on it at midday at the time of

Page 80 I Practical Elemental Magick

Fire. Likewise Summer is the season when flowers and plants are in
full bloom and life is in its most vigorous glory, moving to fruition.

Dusk is the second liminal time of the day, when the darkness of
night is overcoming the light of day. This is often considered the most
magickill time of the day, when it is easiest to work magick in the gap
between light and dark. It is also a particularly good time for
divination. This is a good time to bring projects to a conclusion,
finishing them in a state of balance. As the watery season, Autumn is a
time of surprises, when the rain can appear out of nowhere, leilving
the beauty of a rainbow in its place. It is a time of harvest, and so
likewise is a time to finish projects.

Midnight is a time of transition, into the next dilY. It is the time of
Earth, as the patience and strength of Earth are emphasised by the
silence of night, which is an ideal time for contemplation and
reflection, to look within during the moment of repose. Winter is the
season of Earth, at the end of the year when life moves into dormancy,
whether it is plants in the ground or people retreating into their
houses. The cold and bleak weather encourages contemplation and
planning, working out ideas for when the season moves into the
dynamism of Air in the Spring again.

In the ancient world the tides were perceived somewhat
differently, based on the qualities rather than the elements, a system
which does not perhaps work as well now the weather conditions have
shifted, and are not based on an ancient Mediterranean climate. Thus
the summer ilnd winter solstices corresponded to warm and cool, and
the spring ilnd ilutumn equinoxes to moist and dry. This gave the
seilsonal attributions ilS ilir (spring), fire (summer), eilrth (ilutumn) and
wilter (winter).

Page ill I Practical Elemental Magick

Element Time Season
Air Dawn Spring
Fire Noon
Dusk SU111111l'r
\Vater Midnight
Earth Autumn
Winter

As the pl,lnets arc higher lllClnifestCltions of the elemental
energies, you CCln also choose a dill' of the week which has a
connection to the c1elllent you Clre going to work with:

Day Planet Elellll'nt
Sunday Sun Fir!?
Monday Moon
Tuesday Mars Wall'r
Wednesday Mercury Fire
Thursday Jupiter Air
Friday Venus
Saturday Saturn Air or Water
Earth
Earth

Page 112 I l'ractical Elemelltal Milgick

CHAPTER 9

Preparation for Ritual

Ceremony is a key part of magickal practice. A ceremony is the
synergy of its component symbols, parts and principles, and this
~ynergy is expressed through creating a sequence of focused ritual
actions imbued with power. The sequence when performed forms a
critical mass of intent resulting in a predetermined consequence.
When CI ceremony is repeated its internal power increases and it
becomes CI ritual. It can then be considered a sequence of sacred
technology, as it develops an inherent flow which can be experienced
by anyone who practices it correctly, generating repeatable results.

For any ceremony there are a number of components to be taken
into Clccount before you start. Making sure you have considered all the
components ensures your ceremonies are more likely to be successful.
These components are:

1. Intent
Intent is the carefully defined purpose of a sequence of actions,
fuelled by till' focused pure will of the practitioner and the emotional
desire to see the fulfilment of the result of those actions. Any effective
ceremony will have a very precise intent. You should have formulated
this CIS your first step, as everything else about the ceremony will
depend on this.

1'<1/';<' 113 I Practical ElL'llll'ntal Magick

2. Timing
The elemental time of day and tide are easily determined well in
advance. This will be directly related to the nature of the elemental
force used, and should not be compromised on, as the tides are both
daily and seasonal. Thus the daily tide is easily achievable, as is an
appropriate day of the week, even if you are months away from the
seasonal tide.

3. Location
Elemental magick may be performed outdoors or indoors. If you
are working indoors, do you have a permanent temple space, or do
you need to make a space to work in? Whether you are indoors or
outdoors, you do not want to be disturbed, and you should have
removed all distractions beforehand. Make sure the space that you are
working in is a comfortable temperature.

4. Purification
An important consideration for magickal work is that everything
you use should be purified. Anything you take into a magick circle for
ritual work should have been purified. This includes mundane items
you might not otherwise consider, such as your pair of glasses if you
wear them. Additionally, following purification, if an item has a
specific purpose, like a tool or robe, it should also have been
consecrated. Consecration involves energising the item in question
towards the specific purpose(s) you will be using it for.
Having a ritual bath before a ceremony is always to be
recommended, and when you do so you can use appropriately scented
bath oils to fragrance your bath and aid in your purification before the
ceremony. After drying yourself you should put your robe on rather

Page 84 I Practical Elemental Magick

than clothes, and also any ritual jewellery you m,lY be planning '1Il
wearing for the ceremony.

5. Circle & Altar
The natu re of the work you perform will contribute to your choice

of circle - e.g. you may wish to increase the size of the circle if you are

going to be dancing ecstatically. The altar is usually placed at the
centre of the circle, but you may prefer to have it at one of the cardinal
points if you are concentrating on the element associated with that
direction (e.g. in the west for water, etc). An altar is like a working
table, it should only have items there that need to be there.

6. Symbols
Use of appropriate symbols helps focus the mind on the intent of
the ceremony. Using the appropriate elemental colour for your
candles and altar cloth, and having an appropriate elemental incense
will all help with focusing your mind on the energy you arL' working
with. Your robe may be white or the appropriate elemental colour as
desired.

7. Tools
Your tools include your robe, magickal weapons, candles, censer
& incense, !amen, altar, altar cloth. Lamens should have been made at
an appropriate elemental time. The lamen is effectively either a worn
amulet providing protection from a hostile entity, or a talisman
,lttracting the attention of a positive entity. All tools should h,1Ve been
purified and consecrated before the ceremony.

PJge S5 I Practical Elemental f'vlugick

8. Sequence
Have a clear idea in your head of the "running order" of your
ceremony. The sequence of elemental magick given later provides an
effective template. If you are performing conjurations, have copies of
anything you plan on reading in clear and large easy-to-read script.
Remember that working in the semi-darkness of candlelight can make
it hard to read. If you have memorised the material then a script copy
is still useful in case you forget the words, or just to provide you with
the confidence that comes from knowing you have planned
thoroughly. If you are performing invocation or evocation, have a list
of questions prepared beforehand, or it is all too easy to get distracted
and not cover everything you wanted to.

Page 86 I Practical Elemental Magick

CHAPTER 10

The Elemental Tools

The basic working tools of the magician are elemental in their
attributions and symbolism. Thus we have the wand of air, the dagger
of fire, the chalice of water and the pentacle of earth. As would be
expected from the nature of the elements, the tools attributed to the
masculine elements, i.e. the wand and dagger, are active tools, used for
directing, whereas the tools attributed to the feminine elements, the
cup and pentacle, are passive tools, used for receiving.

Tool Wand Dagger Chalice Pentacle
Element Air Fire Water Earth
Power Reception
Concept Direction Control Perception Protection
Creiltivity Will Manifestation

Dagger

The dagger, forged of iron in the flames of the furnace, is the fire
tool par excellence. In the tradition of Greek manuscripts known as
H.'lgromnntin, which are the precursors to the Key of Solomon, the
instructions for the creation of the black-handled knife often require

Page R7 I Practical Elemental Magick

the timing to be during the hour of M,lrs on the day of M,lrs."' As ,1
fiery plallet, this fits entirely with the ,1ttribution of Fire. furthermore,
ilJthough it Illay seem extrellle to liS now, the instruction was th,lt the
blilde should be created from an existing knife or sword th,lt had been
used to kill someone."'

The dilgger is used to enforce the will of the milgician. This is
why it is used to demarcate the edge of the l11agick circle, and it is used
to control spiritual creatures. According to the Grimoires most ililgeis
ilnd delllons hilve bodies Illilde frOIll il rilrcfied form of air. The
significance of airy bodies is that iron weapons cleilve through air.
Remember the original elementill oppositions of ilir ,1nd eilrth. Iron,
though forged by fire, is drawn from within the mrth, and is able to
Ciluse pain to il spiritual creilture with a less tangible body it pilsses
through. This is why filiry creatures really do not like iron, and why
the Grimoires insist on the magus using a sword to colllllland the
various spirituill creatures. 1t is for this reilson that you should have at
least a dagger to hand when you work magick.

We advocate the usc of a double-edged black-hilndled knife as the
fire dagger. This design is a functional and effective design, which em
be engrilved or marked according to the vvill of the magician.

Wand

The wand is the tool of air, representing the creative po\\'er of the
mind. Continuing to study the instructions in manuscripts, m':\\1y of
the l'xtant Kl'y of S%nlOll manuscripts give clear instructions for the
w':\Ild to be l11ilde 011 a WednesdilY during till' hour of \1l'rcurv.

44 This i, seen in sl'vl'rJl n1Jnuscnpts, such ,15 ..'\tlwnicnsis 1\155 126~.
45 See, e.g. Hclrley 1\155 55Y6, tIll' 15th CL'nturv Greek text.

Mercury is the iliry plilnl't, in COlltrilst to Milrs, cleilrly reinforcing the
iliry nilture of the wilnd as il tool. The length given for the wilnd is
normilily the old ml'<lsurement of il cubit, i.e. from the fingertips to the
elbow (usually ilbout 18" or 45cm).

Trilditionally the wilnd is mJlie from a piece of hJzel or wood
from ilnother nut or fruit beilring tree, cut with J single stroke. This
emphilsis on the ilbiliry to produce fresh growth emphilsises thc
creiltive nature of the wilnd. Whilst the magiciiln commJnds with a
dJgger, with a wand they crCilte. This is why we usc the wand for
consecriltions when il tool is required, rJther thiln il dagger.

Significilntly, the milrking of silcred words on the wilnd mily be
found as filr back JS the Greek Mnsicnl Pnpyri, ilmi also with gods ilnd
ilnimill figures on ilncient Egyptiiln ivory ilpotropilic wilnds. Tn the
,1ncicnt world the wilnd was often considered the most significilnt
milgickill tool of thc milgiciiln.

Whilst there is il huge rilnge of conflicting information about
wilnds, ilnd whilt they should be milde of, and whether they should
hilve J core of some sort, we ildvocate the stilndilrd Solomonic wand,
of the fingertip to elbow length, milde from a piece of hazel which
should be no more than an inch (2.5cm) in diameter at the end you
hold.

The wilnd mJY taper to a nilrrower end, though this does not
need to be turned into a shilrpened point, as the wand is not a weapon.
Once the hilI.el hilS been cut, it should be stripped of the bark and oiled
with iln oil like linsced or olive oil to preserve it. After a few dilys you
C,ln then Cilrve suit,lble symbols on it.

Pa)',c 89 I Practical Elemcntcl1 M,l)',ick

Pentacle

The pentacle or disk is the symbol of earth. Its solid shape and
form leave no doubt of this. However, again it is not really utilised to
its full measure. The pentacles seen in the Grimoires are effectively
talismans made of planetary metals (or in some instances woods) and
worn by the magician to exert control over a spiritual creature or to
achieve a desired result. This form of practical magick has largely
been left behind as being an anachronism of the past, for which we
may more accurately say, too much like hard work!

Thus a pentacle represents the ultimate power of earth as
manifestation, providing a magickal shield emblazoned with
protective symbols appropriate to the work you are performing. This
is why in the Key of Solomon it says:

"The Pentacle is the principle instrument of the Art because without it, you
CIlnnot perform any Operation. All power and virtue are contained in it. It is
through this that all the Spirits, good or evil are forced to obey and to come

when the person performing the Operation commands them."

The Pentacle design we recommend is based on one of the
Jupiterian pentacles from the Key of Solomon, being an equal-armed
cross in a circle, with the names of the four elemental rulers in the
arms. In the centre is a hexagram representing the universe, and also
containing the four elemental triangles. In the outer rim of the
pentacle are pentagrams at the east, south and west, and the symbol
for Ariel as the elemental ruler of Earth in the north.

Page 90 I Practical Elemental Magick

".x

.Jr

~

-l'-

* :J.\ ~';)

r~

.;::-

The Pen tad!'

Cup

The chalice or cup is clearly a watery tool. Its primary function is
to hold liquid, be this wine, water or something else. Whilst the
chalice may have now becn relegated to the position of symbolic
drinking \·cssel, in the past it was a key tool, being the focus for
hydromancy, or divination by liquid. This practice was frequently
used for conjuring angels, demons and pl'1l1etary creatures for
communication, ,1nd can be seen as parallel to the use of other

Pilge 91 I Practical Ekml'ntal Milgick

mediums such as a mirror or crystal. However a range of influences
caused magick to move to a perception which requires the physical
manifestation of entities. This has sadly resulted in a move away from
appreciating the reality of spiritual creatures and interacting with
them, rather adopting the paradigm of seeing them as useful
psychological constructs which can assist in the process of self-
development or 'self-empowerment'.

Altar

One of the most important items for the temple as a tool, though
it is passive in that it is not moved, is the altar. Of course it could be
argued that it is a piece of furniture rather than a tool, but that is up to
you to decide. The ideal design for the altar is the classic double cube
design. This form embodies the glyph of the Tree of Life as an
elemental design. The Tree of Life is a design of ten spheres (the
Sephiroth) joined by twenty-two paths, forming a multi-levelled glyph
which represents both the universe and the human body. The
Sephiroth are formed by a process of manifestation from the undivided
divine at Kether through to the manifestation of the physical realm at
Malkuth.

The top and bottom represent Kether and Malkuth as the two
Sephiroth containing all the elements (Sephiroth 1 and 10). Kether as
the divine manifestation is the upper surface where the magician
places the tools of the art, and Malkuth as the lower surface is the
plane of contact with the physical world through the floor.

The four rectangular sides, each being two squares one on top of
the other, then represent the other eight Sephiroth in their elemental
attributions as two of each of the four elements. Thus the sides are Air
(Chokmah and Hod, Sephiroth 2 and 8), Fire (Geburah and Tiphereth,

Page 92 I Practical Elemental Magick

Sephiroth 5 and 6), Water (Chesed and Yesod, Sephiroth 4 and 9) and
Earth (Binah and Netzach, Sephiroth 3 and 7). The division between
the upper and lower cubes also represents the elements within and
without. The upper cube has the higher elemental powers
corresponding to the journey from the planet Earth out of the solar
system, representing the radiation of magick into the world, whereas
the lower cube has the elemental powers corresponding to the inward
journey from the Earth in to the Sun, representing the magickal
balancing of the self.

It could also be argued that the inside of the altar, where tools are
stored, symbolises Daath as the repository of knowledge through the
focal action of the tools as weapons of intent to achieve magickal
results.

Page 93 I Practical Elemental Magick

Elemental Tool Consecration

The act of consecrating your ceremonial tools is one of the most
important things you will perform as part of your preparatory
workings. It is through consecration that you assign a purpose to the
tool, whilst also declaring it as magical and sacred. So for example
within the context of elemental magick, prior to consecr,ltion your Fire
Dagger is iust a knife, but after it has been properly consecr,lted it
becomes the elemental tool of Fire.

For this consecration we Lise the following symbols for each of the
four clements. They represent the four clements, and the duplication
of the symbol within the symbol hints at the power controlling the
clement, i.e. the elemental governor. You can if you prefer usc the
common elemental triangles instead.

Air: Clwrub Earth: Ariel

Hold the tool in your preferred hand in the direction associated
with the clement of the tool.

Proclaim:

I cOllsccrate tilee I tool} ill tile ilnlllC of tile tlrclWlIscllllnlllc] tlll7t !fOil /1c n

/wlll implemellt for nlil will, nlld "ape 111<' IIr11lSick1l1 1I1l111e] liS 11 )'(liellt Ilild
cffeclivc clII/Jlel1l of tile clclI/ellt of [eleIllCIlt] 1,.11 II/(' pOIl'er of till' clclI/cllttll
S[)lICl'lwr Isol'cl'l101' illlllll'].

Pagl' 0-1 I Practical Ek'llwntal Magick

Now hold the tool to your heart for four heartbeats, fee!ing the
strength of your link to the tool, and its function as an extension of
your intent.

Next engrave the symbol of the ekmental governor on your too\.
For a wand carve this on the base (i.e. the circular bottom), for the
dagger on the blade by the handle, for the chalice on the base, and for
the pentacle in the top of the circle.

When you havl' finished hold the tool in your preferred hand in
the direction associated with the element again.

Proclaim:
I conseemte thee anew in the nome or tite archal/gel [nome] that !lOll
senx me [magiekal nome] ill all my deeds, uisible and inuisible, in euery
realm, as a potmt and effeetiue emblem of the elemcllt of [clemellt] by the
power or the elemental gouernor Igoucmor nome].

Tool Wand Dagger Chalice Pentacle
Archangel Raphael Michael Gabriel Uriel
Water Earth
Element Air Fire Ariel
Governor Cherub Seraph Tharsi~

I'age 95 I I'r,lctiCcli Ell'llll'nlai Magick

CHAPTER 11

The Magick Circle of the
Four Elements

In every respect the magick circle is a place of balance. It
symbolises the focal essence of the magician's intent, as a nexus for
change, a liminal place of transition between force and form where
intent is realised. It is created by the magician to be a space in which
to perform magickal and sometimes also spiritual work. The magick
circle can as such rightly be described as one of the most important
parts of any ritual work.

The magick circle serves as a demarcation between the magickal
space created by the magician, and the mundane world. Because the
magick circle is balanced between so many different possible forces, it
is essential that it is created as a place of harmony. The magick circle
must be created with the full attention and intent of the magician, as a
place of grace, truth and power. By so doing the magician not only
sets up the necessary dynamic required for effective direction of
power, but also creates a purity which can be used to attract the
attention of the spiritual creatures you seek. The level of respect for
the spiritual creatures and self-worth of the magician can both be read
from the purity and truth of the intent in the heart and mind of the
magician.

Page 96 I Practical Elemental Magick

The elemental magick circle is created using the elements,
specifically as a place for practising elemental magick, although it can
<1150 be used for other forms of magick, repreo;enting ao; it dol'o; cre"tion
from the simplest component parts.

Creating your Elemental Circle

You will be creating a circle which will be 9 foot (2.7m) in
diameter. The purpose of this circle is to create a magickal space for
performing your elemental magick in.

You will need:
• A small bowl containing water (preferably living water).
• A censer of incense
• Spirit light (lamp or a candle)
• Taper or candle

For the creation of the circle you may lise a dagger, or your
preferred hand. If you use your hand, make the gesture of
benediction. This is made by extending the forefinger "nd big fing('r,
and curling the ring finger and little finger into the palm, with the
thumb curled over so it rests on the ring and little fingers.

The idea of enkindling water by placing a brand in it to make it
holy can be found in ancient Greek ceremonies for the creation of /z/ld8r
theioll (,holy wnler'), also known in Latin as nqlln ISIlC sncrn illf7mllmnln
('wnlcr illflnmcd by sncrcd fire').

Before the ceremony commences light the spirit light and the
charcoal block.

Light the taper from your spirit flame.

Page 97 I Practical Elemental Magick

Dip the taper flame into the water, extinguishing it. As you do so,
proclaim:

1 lmagickal name] enkindle this water with my will. Fire and water
united create the sacred conjunction of opposites, and from this is holiness
/Jorn. The rising fire descends, the descending water rises, as above, so below.

Put the taper down on the altar, then pick up the bowl of
consecrated water and walk around the space, starting in the East, in a
clockwise circle, sprinkling the consecrated water as you walk. When
you have returned to the East, go back to the altar and replace the bowl
on the altar.

Add incense to the charcoal block. As you do so, proclaim:

1 lmagickal name] transform this earth with my will. Through the
medillm of fire, earth becomes air and the sweet fragrance of sacredness is
released. The intangible air manifests, the manifest earth sublimates, as
above, so below.

Pick up the censer of incense (frankincense is ideal as a general
incense, though of course you may use a specific blended elemental
incense or appropriately attributed resin) and return to the East,
walking in a clockwise circle, censing with the incense as you walk.
When you have returned to the East, go back to the altar, replace the
censer on the altar and make the gesture of benediction.

Again go to the East and walk clockwise around your space with
your arm outstretched downwards towards the floor and see a circle of
white flames being formed at the tip of the weapon or your fingers,
and say:

Page 98 I Practical Elemental Magick

Ullited and conjoil1ed the fOllr elemental powers
{orm the greater I1l1ity,

That 1I11itlj is my magick circle, bOllnd in time and space
Within is my IIniuerse

harmollised by the magick of the elemellts.
As above, so below

When you have returned to the East, return to the centre and
place your weapon on the altar, and continue with your ceremony.

Page 99 I Practical Elemental M<lgick

CHAPTER 12

The Elemental Pyramids

As we mentioned previously in our work Pmclicnl Plnl/clnry
Mngick, the pyramids came about as a re~ult of inspiration for a
magickal group we were (ill1d continue to be) involved with. The
Spirit pyramid WilS the first one, which then led to the four Elementill
pyrilmids, ilnd the subsequent milnifestiltion of the Planl.'tilry
pyrilmids. The sequence is l.'ilsy to memorise, and if you struggle with
recilll, simply writl' down the key points like the milntra and the
qualities for eilch direction on a piece of pLlper which you can rder to if
you forget. You will soon find the qUillities stuck firmly in your mind.
As with other meditationill work, do not feel you need to hurry
through them. Take your time ilnd ensure you receive the full bendits
of the elementill qualities when you perform them.

This hils proved to be il very usdul prepilratory technique for
milgickill work, focusing the practitioner on the energy ilpprupriiltl' to
the work being condllctL>d. The pyramids Ciln be used as stand-alone
exercises for developing your connection with the elements, or for
strengthening elemental qUillities within yourself. They work well for
the process of enhancing positive or transforming negilti\·e ljuillities,
pilrticulilrly if used in conjunction with the elementill tl'mples. Idl.'ilily
the pyramids should be used over il period of dilvs or weeks for such
work, do not cxpect ovcrnight results from il single usc.

Page JOO I Practical Ek'nwntail\1agick